After 200 performances in France and abroad of its "Dom Juan... and the clowns" (based on Molière's Dom Juan), directed by Irina Brook, the Compagnie Miranda is now delving into the myth of Cyrano de Bergerac, another masterpiece of our theatrical literature.
It offers a reading, as light and respectful as ever, in a poetic universe, and places the clowns, who this time are without noses, in the early days of silent cinema. Moving away from the expected image of the musketeer, our Cyrano becomes an actor or director who transforms his life into a 1920s film. He is masked like those "broken faces" whose faces have been reconstructed in bronze or ceramic. A wounded hero, he is the romantic artist who will go to the end of his story, sequence after sequence, until the end. The spectator then finds himself at the centre of a "shooting", a frantic and twirling round, a joyful hysteria of creation, of changes of scenery and characters. In this homage to Méliès, the genius of cinematographic illusion, the myth of Cyrano is reinvented before our eyes with humour and poetry.
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